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Chinese artist shocks Venice with prison expo

Chinese dissident artist Ai Weiwei tells the story of his 2011 incarceration with an installation of six large rusty metal boxes in the nave of a Venetian church at the Biennale art festival.

Chinese artist shocks Venice with prison expo
Visitors look at Bang (2013), an Ai Weiwei installation in the German pavilion at the 55th Venice art biennale. Photo: Gabriel Bouys/AFP

In the Baroque surroundings of St Antonino – a short walk from St Mark's Square – the unusual display encourages visitors to peer inside the mysterious boxes to see what might be inside.

Like a twisted doll house turned into a Chinese prison, the sculptures are scenes from his detention with the artist shown going about his daily tasks with two guards present all the time.

In one he is sleeping as guards watch, then he is naked in the shower, pacing in his cell, eating a meal, talking and going to the toilet.

The impression is of an overwhelming attack on the artist's intimacy that immediately puts visitors ill at ease as they peer like voyeurs.

The realism of the works echoes the traditional aesthetic of the communist country – rendered all the more unusual in the context of a church.

The choice of a house of worship could be another gesture of provocation from Ai since China has difficult relations with the Catholic Church.

The six boxes, which are around 1.5 metres (five feet) high and 3.5 metres long, have a sobriety that fits with the church's theatrical elegance.

The exhibition entitled "S.A.C.R.E.D" was installed by the Lisson Gallery (www.lissongallery.com), based in London and Milan, and can be viewed until September 15th.

"It is a personal statement and a political statement," Greg Hilty, curatorial director of the gallery, told AFP.

"It was a very traumatic experience for him. He needed to exorcise the trauma," he said.

"It is about a man's search for identity," he said.

Ai has emerged as a fierce critic of the government in Beijing, often through his prolific use of the Internet and involvement in sensitive social campaigns.

He was detained for 81 days in 2011 during a roundup of activists at the time of the Arab Spring popular uprisings, and on his release he was accused of tax evasion and barred from leaving the country for one year.

The Chinese artist, who cannot be in Venice, because he has still not been returned his passport, described his detention in a video message published on his site last week.

The video showed Ai under interrogation, marking a document with a red thumbprint and wearing a black hood labelled "Criminal" before being scrutinized by guards in the prison shower.

Ai told AFP in Beijing that for the video he created an "exact model" of the room in which he was kept for much of the period.

"There are so many political prisoners in China who are being kept in even worse conditions than I was," he said. "When I was detained, the guards would ask me to sing songs for them… even in such a place people still have imagination."

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old toldĀ AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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